Crocodiles: Summer Of Hate

To be frank, it would be easy to write off Crocodiles as a band that was on a warpath to ape The Jesus And Mary Chain. Yet even if you were so dismissive as to assume such (which would be a mistake), you'd at least have to admit that they're doing a damn good job. The reverb drenched vocals, fuzzy guitars, and drums-machine-but-maybe-not beats all combine to create a stunning homage to the Mary Chain's oeuvre.

But leaving it at that would be like saying Bowie was simply ripping off Bolan, or that Elvis Costello was nothing but a Buddy Holly imitator. Much like Bowie and Costello, Crocodiles wear their influences unabashedly on their sleeve, but then manage to do quite a bit more. By using the foundations of 60's rock, overlaying it with the fuzz of the late 70's, and then laying their own craft on top of it, the band manages to deliver a record that is at once catchy, arty, and original.

The record starts with perhaps the most blatantly accessible track, "I Wanna Kill". With a sing along chorus, a late 50's chord progression, and a Jesus and Mary Chain paint job, it effortlessly ropes the listener in to the band's world. It's immediately followed by the slightly more challenging "Soft Skull (In My Room)", which delivers fabulously syncopated beats and off kilter guitar that toes the line between noise and melody to perfection.

From there the record opens up beyond the simplicity of guitar rock and starts drifting into more adventurous soundscapes. "Here Comes The Sky" offers up a piano ballad dripping with reverb around a classic melody, "Refuse Angels" filters the band's sound through fuzzy beats and a straight-ahead motion, and "Flash Of Light" offers up an Iggy Pop worthy dirge.

The record closes with three tracks that probably push the band's boundries the furthest. "Sleeping With The Lord", "Summer Of Hate", and "Young Drugs" all offer up droney takes on songwriting in their own way. The fact that three songs in a row can have such a similar vibe and yet be completely different stylistically is a tribute the band's ingenuity, and the uniqueness of this record.

It's not every day here at HAD that we stumble upon a record that begs repeat listens, but Summer Of Hate is most certainly one such record. It's a fine line between accessibility and artistry, and to manage both in one fell swoop is more challenging still. Crocodiles have managed to do exactly that, not to mention create a record that feels as effortless as it is enjoyable. Quite frankly, we're so stoked that we can't wait to hear what they do next. And the meantime, well, we're happy to give this one another spin.

mp3: Crocodiles - Soft Skull (In My Room)

Crocodiles play the Bottom Of The Hill Tomorrow Night - Friday, June 5th

Bjork Releases Voltaic, Screenings Nationwide

We'll admit that we haven't exactly been on top of Bjork's recent activities. To be frank, when we discovered (latently) that she had released all of her records in surround sound, we got immensely caught up in the back catalog, and probably haven't given Volta the attention it deserves.

Well, now here we are in the world of the post-Volta tour and Bjork is releasing Voltaic, a DVD documentary of the past two years of touring. You can obviously purchase the disc, but there's also another option. A number of screenings have been arranged nationwide, to allow you to revel in the DVD's goodness amidst the company of fellow fans, and a gigantic cinematic screen. Should be a treat.

Bjork Voltaic Screenings 2009
June 17 Boulder, CO Boulder Theater
June 19, 20 Anchorage, AK Bear Tooth Theater
June 20 Philadelphia, PA 941 Theater
June 23 New York, NY School of Visual Arts Theater
June 23 Los Angeles, CA The Montalban Theater
June 23 Madison, WI The Orpheum Stage Door
June 23-28 Oxford, MS The Amp
June 23-28 Lake Geneva, WI Geneva Theater
June 24 Minneapolis, MN The Trylon Microcinema
June 26, 27 Seattle, WA Northwest Film Forum
June 26, 27 San Francisco, CA The Roxie
June 26, 27 Bellingham, WA Pickford Film Center
June 26, 27 New Orleans, LA Zeitgeist Arts Center
July 20 Austin, TX Alamo Drafthouse Ritz

Blur To Release New Best Of, Midlife, In Honor Of Reunion

We're probably about as excited as we could get about the Blur reunion. And, we'll admit, there's a certain charm to a collection that doesn't just iterate the hits, but instead is hand picked by the band to represent their very best. Seriously, we get it.

But here's the thing: Blur has released one album since their last best of collection. ONE. Did no one notice this before they green lighted the compilation? Granted, it's been ten years, but let's be frank here, people: one (admittedly awesome) record does not necessitate a new compilation. Really.

Now, of course, we understand. The band is drumming up publicity for the reunion, and the record company probably wants to rope in new fans, etc. etc. We get it, we just don't like it. We'll take a raincheck, and wait for an album of new material, thank you very much.

Miles Davis' Birth Of The Cool Tribute At Yoshi's San Francisco - Pictures, Review

Last Monday we had the pleasure of stopping in at Yoshi's San Francisco to catch the birthday tribute to Miles Davis' record The Birth Of The Cool, and we have to say we're glad we did. Never mind the fact that there was a legitimate nonet (yes, that's nine people), but the show was great as well. The material from the record was fantastic - "Move" sent chills up our spine when it started. While the band didn't play the whole record, or in order, they certainly played enough choice cuts to leave us satisfied. On top of Miles' material, the band played some original tunes that were completely solid and fit in perfectly with the set.

Clocking in at around an hour and a half, and just a single set, the show was a little shorter than we expected. That being said, we were glad to have gotten out of the house. Not only to hear the tunes from Birth Of The Cool, but also to check out the new facility at Yoshi's San Francisco for the first time. We have to say we were honestly impressed. The venue has fantastic sound quality, a great vibe, and enough space to make the table layout intimate but adequately spacious. Rest assured that we'll be back again soon.



More photos at the HAD Archive

New Kings Of Leon Video: "Notion"

Say what you will about the Kings Of Leon (the comments section at Stereogum is rife with critique), but we're pretty sure the band is still delivering in spades.

Sure, they're a favorite of your local frat boy now, and their videos are getting quite cheeseomatic. That being said, the band is still delivering killer rock records, and to be frank, they've stayed on a steady creative path for a number of years now. We're guessing the haters now are probably the kids whose older brothers were pissed when U2 released Achtung Baby.

Sigh.

Clues: Clues

Clues at Noise Pop 2009, from the HAD Archive

We've been anxious to get our hands on Clues' self titled debut ever since we heard news of the band last winter. March's show at Noise Pop served to solidify our excitement, and when the middle of May came around, we snatched up a copy.

So what do we make of it? Well, in short, it's largely what we expected. Put differently: it's not a terribly surprising record, but it is a very good one. The lack of surprise lays somewhere in mastermind Alden Penner's style, which is so characteristic that it's difficult to change up. His distinctive vocals, the layered, percussive, lo fi sound, and the oddball lyrics all combine to create a record that is so similar in sonics to The Unicorns, that you wouldn't be mistake it for being a follow up.

That being said, Clues certainly has their own vibe, and one Unicorn does not make a pair. The Clues record is darker, more edgy, and more minor keyed than The Unicorns ever were. Even the record's most upbeat moments left us with something of a sense of unease that we couldn't exactly put our finger on. It felt remarkably distant and cold in a way that surprised us given the excitement and fun of the band's live show.

And in the end, that's what is missing from the record: the band's live sound. The show we saw in March at the Rickshaw was so full of life that it was like a cup overflowing. Every person in the room left wanting more, and doing so with a smile on their face. By contrast, the record is cold and disconnected. Our only hypothesis (and, to be frank, our hope) is that the record was made as the band were finding their feet, and that the next release will yield a bit more...soul?

Despite these shortcomings, the record is still unquestionably enjoyable. It's great to have some new material from Penner, and the fact that the band delivers so solidly in a live environment just serves to build the foundation of the songs. As the band embarks on their summer tour, we do have to say to you, dear reader: missing them would be a mistake.

mp3: Clues - Remember Severed Head

Clues play the Rickshaw Stop this Thursday.

The Sea And Cake At Mighty In July?

The Sea and Cake at Great American, from the HAD Archive

While we have little-to-no confirmation at this point, a little bird has spouted a rumor that The Sea And Cake may be at San Francisco's Mighty on July 17th. Given that the club is usually host to DJ's more often than bands, it seems a bit unusual. Pile that up with the fact that Tortoise (namely, John McEntire) will be in Chicago that day, and well, it doesn't sound like a full band gig.

That being said, the band is doing some Canadian dates at the beginning of July, so it's not implausable, although it seems unlikely they'd rope in another drummer. Perhaps it's an acoustic set? Or a DJ set? We honestly have no idea, and Mighty's calendar isn't giving up any secrets. We'll keep our eyes posted and let you know. Stay tuned.

mp3: The Sea And Cake - Weekend

The Beatles' Sergeant Pepper In Mono: Yeah, It's Pretty Damn Good

After reading this post on Gizmodo back in April, we couldn't help but start digging around to find some Sergeant Pepper's mono rips from the vinyl. And find it we did: the rip is happily waiting on the internet in a torrent of questionable legality. But, to be frank, it's the only way to get the tracks aside from a (pricey) original slab of vinyl, so we were willing to take the risk. Was it worth it? Yes. Was it better than stereo? Debatable.

The argument behind the mono mix being "better" is a pretty simple one: the band and George Martin were present for the mono mix, and much longer was spent on it than the stereo mix. Apparently many argue that the stereo mix was still novelty at this point, and so it's almost meaningless. However, that misses some facts that are certainly important, if not crucial.

First, the stereo mix was created by Geoff Emerick. Now, while certainly not a Beatle, Emerick is a producer and engineer of quite a bit of reknown. It's not as though he walked in off the street and made a mix. He was present during all of the recordings and intimately involved with the record. Second, what defines a "novelty" mix? Any mix puts the music in new light, so is one mix more "important" than another? It seems far more fitting to define a mix as being truer to the artist's vision, which may be true of the mono mix in this case. That being said, to trivialize the stereo mix seems to ignore the fact that clearly someone thought it was true to the album's character, or they wouldn't have mixed it that way.

So, caveats aside, what do you get with the mono mix? Well, in short, you get a different mix. Yes, many sources glamorize it as the "true" mix, or "infinitely more exciting", or "the way it was meant to be", but those all seem like rather extreme opinions. The reality is that the record is noticeably different, but questionable in its superiority. Yes, the guitars certainly rock harder, which is actually quite nice. The instrumental emphasis is also quite different, and most of the songs take on a different character that has a bit more oomph to it. Perhaps most notable is the mix of "She's Leaving Home", which, with a different tape speed and key, has a completely different feel.

It's very hard to say what makes a release "true" to the original vision. Every year, record companies pile on release after release of reimagined, remixed, and remastered reissues. In an attempt to take advantage of new technologies, these versions offer the listener a new and exciting view into the music. Is the surround sound mix of Young Americans the original vision? Obviously not, as the technology didn't exist then. Still, it's pretty damn cool. Even the Beatles have jumped on the bandwagon, with the Love album being released in DVD-Audio, and George Martin extolling the format's virtues.

So, that being said, we're uncertain where all this concept of the "true" mix comes from. A mix is a dynamic beast, and we wonder what these same listeners would be saying had the stereo mix of Pepper never existed. Would they be begging for one, in order to add to the dynamics and instrumental separation of the mix? It makes you wonder.

We're just glad to have another way to hear one of our favorite albums. The Beatles created some of the most fantastic records of all time, and we wouldn't mind if we got to hear them ten different ways, let alone two. Getting to hear one of their records in a new light is frankly, enough of a treat to satisfy us for quite a while, "true" mix or otherwise. We have no idea when this mix will see official release, so if you find yourself wanting to hear a new take on Sergeant Pepper, we recommend you do just that. Mono or stereo, it's The Beatles, people. Were you expecting it to suck?

Kurt Vile Signs To Matador

Kurt Vile at Amnesia in March, from the HAD Archive

We here at HAD have been digging on the awesomeness of Kurt Vile for a while now. That being said, we're not exactly surprised that the experimental singer/songwriter has gotten picked up by one of the "major" indie labels - namely, Matador Records.

In a post on the label's blog, they've waxed philosophical on Vile's virtues, concluding that he is "one of the more important figures in American music circa 2009". While we think Vile still has some records to get through before he lives up to that label, we have to say we certainly agree with the sentiment.

The post goes on to mention that Vile's first full length for Matador is due this autumn, and is entitled Childish Prodigy. Congratulations to Mr. Vile, and mark our words kids: this one's gonna be big. Like, huge.

mp3: Kurt Vile - Freeway

Thanks to Brooklyn Vegan for the tip!

EELS: Hombre Lobo

There are two sides to the EELS equation: one is the quirky, quiet, depressing Mr. E, while the other is the rockin', balls to the wall, ready to take it on the chin Mr. E. The latter is the side of the equation is the piece that has always gotten more attention, and many of E's most lauded work is that which falls into the "sad sack" category. What's more, for the past few years (or more) E has indulged his more mopey side almost exclusively. Between Blinking Lights, EELS With Strings, and E's curmudgeony on stage persona, he's clearly been indulging his inner mope.

Which is not to say that's a bad thing: there's certainly merits to E's more serious compositions, and they have certainly helped to define him as a songwriter. Still, we're surprised that it's the side that gets the most attention. The fact of the matter is that E on a good day has far more depth than E on a gloomy day ever would. Sure, on their surface the more rocking compositions come across at first like less "artistic" fare. But the fact of the matter is that the rocking compositions still contain the emotion and insight of the ballads, they just deliver it with a dose of sarcasm, wit, and acceptance. It's that ability to confront demons that we love so much about E's rock persona, and it's why we couldn't be more happy that it's back with Hombre Lobo.

Before his current journey into mope-land, E spent quite a few years in his rock and roll boots. Souljacker and Shootenany were a pair of records designed to rock, and they did so with perfection. While Souljacker has held up better over the years, both records serve to illustrate just how well E's rock and roll songwriting can deliver. What constitutes E's rock sound is difficult to sum up, but we'd point out a few notable elements. Fuzzed out guitars, upbeat ballads, and drums that are full of punch and character: all of these serve to bring the songs up a notch, and allow them to transcend simply being about loss. Somehow, they manage to become catchy songs about loss. If the return of E's "rock beard" wasn't enough of an indicator, then we're happy to confirm: Hombre Lobo could easily stand as the third piece in this rock and roll trilogy.

From the first notes of "Prizefighter", it's clear that E is on a rock kick, and the momentum continues with "Lilac Breeze", "Tremendous Dynamite", "Fresh Blood" and "What's a Fella Got To Do". All of those tunes are rife with enough unapologetic fuzz and blues influence to make you smile by themselves. Nonetheless, interspersed between the rockers are some truly solid Mr. E ballads. Most reminiscent of the ballads on Daisies Of The Galaxy, these tunes are upbeat, with singable melodies and lilting beats. In short, it's a long way from the morbidity of Blinking Lights.

It's worth mentioning in the context of this change in direction that this is also probably the album in the EELS catalog that most recognizes E's classic rock and roll roots. Sure, he's covered "Fingertips" and "Loser" in concert, but on this record you can really hear that sixties influence in earnest, and it works. "Beginner's Luck" could be straight out of 60's Mowtown, and the record's melodies scream with classic sixties charm. The idea that a song can be catchy and tragic is really very much a hallmark of the sixties, and it's nice to see EELS unafraid to break away from the earnestness of emo.

At the end of the day, we don't really share the common endorsement of E's mopier fare; We couldn't be happier to see him back on what (to our ears) really feels like the "right" track. Sure, it's catchy, and to some that points painfully in the "sell out" direction. But the reality is that E's ability to dig into his emotions and reimagine them with a sweeter wrapper is a huge part of his charm and talent. What's more, his snarky sarcasm just wins us over every time. We couldn't be happier to have the "rock E" back - now we just need to catch the tour!

mp3: EELS - Fresh Blood
Stream: EELS - Hombre Lobo